The Quest for Cardenio

Shakespeare, Fletcher, Cervantes, and the Lost Play
1. Auflage 2012
ISBN: 978-0-19-964181-9
Verlag: Oxford University Press

Buch, Englisch, 436 Seiten, Format (B × H): 160 mm x 236 mm, Gewicht: 816 g

This book is about the search for a lost play. Celebrating the quatercentenary of publication of the first translation of Don Quixote, it is the first collection of essays entirely devoted to The History of Cardenio, a play based on Cervantes and probably written in that same year. It was said to be written by Shakespeare and the young man who was taking his place, John Fletcher, the most successful English playwright of the seventeenth century. The book brings together leading scholars, critics, and theatre practitioners to discuss the lost (or partially lost) play. It also re-examines Lewis Theobald's 1727 Double Falsehood, allegedly based on Cardenio. A range of approaches -new archival evidence, employment of advanced computer-aided stylometric tests for authorship attribution, early modern theatre history, literary and theatrical analysis, musicology, and recent theatrical productions and adaptations - produces new research findings about the play, Shakespeare, Fletcher, Cervantes, and the early modern relationship between Spanish and English culture. The book establishes the dates, venues, and audience for two performances of Cardenio by the King's Men in 1613, and identifies glimpses of the play in several seventeenth-century documents. It also provides much new evidence and analysis of Double Falsehood, which Theobald claimed was based on previously unknown manuscripts of a play by Shakespeare. His enemies, especially Pope, denied the Shakespeare attribution. Debate has continued ever since. While some contributors advocate sceptical caution, new research provides stronger evidence than ever before that a lost Fletcher/Shakespeare Cardenio can be discerned within Double Falsehood. Uniquely, this collection combines archival research and literary analysis with accounts of recent theatrical experiments, which explore the Cardenio problem by reviving or adapting Double Falsehood, and demonstrate that such practical theatrical work throws valuable light on some of the problems that have obstructed traditional scholarly approaches. It thus offers a new paradigm for the creative interaction of scholarship and performance.

Zielgruppe

Students and scholars of Shakespeare, and of early modern theatre more generally.

Autoren/Hrsg.

Carnegie, David

Taylor, Gary

Fachgebiete

• Geisteswissenschaften Literaturwissenschaft Englische Literatur
• Geisteswissenschaften Literaturwissenschaft Literaturgeschichte und Literaturkritik

Inhaltsverzeichnis

- Setting the Stage

- 1: David Carnegie: Introduction

- 2: Gary Taylor: A History of The History of Cardenio

- 3: Brean Hammond: After Arden

- External Evidence: What the Documents Say

- 4: Edmund G. C. King: Cardenio and the Eighteenth-century Shakespeare Canon

- 5: Ivan Lupic: Malone's Double Falsehood

- 6: Tiffany Stern: 'Whether one did Contrive, the other Write, / Or one Fram'd the Plot, the Other did Indite': Fletcher and Theobald as Collaborative Writers

- Internal Evidence: What Style and Structure Say

- 7: MacDonald P. Jackson: Looking for Shakespeare in Double Falsehood: Stylistic Evidence

- 8: Richard Proudfoot: Can Double Falsehood Be Merely a Forgery by Lewis Theobald?

- 9: David Carnegie: Theobald's Pattern of Adaptation: The Duchess of Malfi and Richard II

- 10: Gary Taylor and John V. Nance: Four Characters in Search of a Subplot: Quixote, Sancho, and Cardenio

- Intertexts and Cross-currents

- 11: Valerie Wayne: Don Quixote and Shakespeare's Collaborative Turn to Romance

- 12: Huw Griffiths: The Friend in Cardenio, Double Falsehood, and Don Quixote

- 13: Lori Leigh: Transvestism, Transformation, and Text: Cross-dressing and Gender Roles in Double Falsehood/The History of Cardenio

- 14: Matthew Wagner: In This Good Time: Cardenio and the Temporal Character of Shakespearean Drama

- Cardenio for Performance

- 15: David Carnegie: A Select Chronology of Cardenio

- 16: Gary Taylor: The Embassy, The City, The Court, The Text: Cardenio Performed in 1613

- 17: Roger Chartier: Cardenio without Shakespeare

- 18: Àngel-Luis Pujante: Nostalgia for the Cervantes-Shakespeare link: Charles David Ley's Historia de Cardenio

- 19: Carla Della Gatta: Cultural Mobility and Transitioning Authority: Greenblatt's Cardenio Project

- 20: Bernard Richards: Re-imagining Cardenio

- 21: Richard Proudfoot: Will the Real Cardenio Please Stand Up: Review of Richards' Cardenio in Cambridge

- 22: Peter Kirwan: Theobald Restor'd: Double Falsehood at the Union Theatre, Southwark

- 23: Gregory Doran: Restoring Double Falsehood to the Perpendicular for the RSC

- 24: David Carnegie and Lori Leigh: Exploring The History of Cardenio in Performance

- 25: David Lawrence: Taylor's The History of Cardenio in Wellington

- 26: Terri Bourus: 'May I be metamorphosed': Cardenio by Stages

Über Autor(innen)

Carnegie, David
David Carnegie is Research Professor of Theatre at Victoria University of Wellington, New Zealand. He is co-editor of the Cambridge edition of The Works of John Webster, and has published widely on Elizabethan drama and stagecraft. He has also worked professionally as a director, dramaturg, and critic, and directed the first full production of Gary Taylor's 'creative reconstruction' of Double Falsehood entitled The History of Cardenio.

Taylor, Gary
Gary Taylor is George Matthew Edgar Professor of English at Florida State University. He is general editor of prize-winning, innovative Oxford editions of Shakespeare's Complete Works and Middleton's Collected Works, as well as a prize-winning book on Shakespeare in performance, Moment by Moment by Shakespeare. In addition to his twenty-two scholarly books, he has written for newspapers and magazines on both sides of the Atlantic, been widely interviewed on radio and television, and spoken at major theatres in the UK, USA, and Canada. His reconstruction of The History of Cardenio has been developed through workshops and readings at many theatres, including Shakespeare's Globe (London), the Chicago Shakespeare Theatre, the American Shakespeare Center, and the Shakespeare Theatre in Washington D.C.